dall'agocchie s Bolognese Side Sword 2 Name: Scholars of Alcalá 1 st Revision
dall'agocchie s Bolognese Side Sword Level 2, 1st Revision This workbook continues our exploration of Giovanni dall Agocchie s Dell Arte di Scrimia (1572). Again, the bulk of the theoretical knowledge is only contained in the original text. Some reordering has been done to show the provocations and their counters together. Prerequisites This text assumes that you have already worked through dall'agocchie s Bolognese Arming Sword 1 or are otherwise familiar with basic Bolognese guards. Contents Lesson 1 Concepts... 3 Lesson 2 Provocations in Coda Lunga Stretta... 5 Lesson 3 Provocations in Coda Lunga Alta... 9 Lesson 4 Provocations in Porta di Ferro Stretta... 11 Lesson 5 Provocations in Cinghiale Porta di Ferro... 15 Lesson 6 Provocations in Guardia d Alicorno... 16 Lesson 7 Falso to falso with your enemy so that swords kiss... 17 Lesson 8 Dritto to dritto with your enemy so that swords kiss... 20 Works Cited... 23 Next Steps... 23 ~ 2 ~
Lesson 1 Concepts Provocations [TODO] Giovanni dall Agocchie Said provocations, so that you understand better, are performed for two reasons. One is in order to make the enemy depart from his guard and incite him to strike, so that one can attack him more safely (as I ve said). The other is because from the said provocations arise attacks which one can then perform with greater advantage, because if you proceed to attack determinedly and without judgment when your enemy is fixed in guard, you ll proceed with significant disadvantage, since he ll be able to perform many counters. Therefore I want to advise you that you mustn t be the first to attack determinedly for any reason, waiting instead for the tempi. Rather, fix yourself in your guards with subtle discernment, always keeping your eyes on your enemy s hand more so than on the rest of him. Lep. But what if the enemy doesn t want to throw anything? Gio. In that case you ll provoke him in the way that I said above, because by doing so he ll be forced to respond. Lep. But if the enemy performs these provocations against me, how could I defend myself against them? Gio. By performing the counters to them. Lep. Would you also tell me how these counters are done? ~ 3 ~
Tempo Time Tempo is the Italian way of discussing the timing of actions. Tempi can be thought of as opportunities to act. Such as when: 1. You have parried your opponent s attack. 2. Your opponent s attack has just missed and the point doesn t threaten you. 3. Your opponent raises his blade in preparation for a strike 4. Your opponent moves his sword in order to changes his guard without a good reason 5. Your opponent raises his front foot, either to step or to adjust his stance Giovanni dall Agocchie Gio. With the tempo. Because every time that you attack in tempo, you ll be safe, whereas on the contrary, when you attack outside of tempo, you could be harmed. Lep. Explain it to me better. Gio. Since you give me an occasion to speak of tempo, I ll tell you. {The tempo for attacking is recognized in five ways.} There are five ways of recognizing this tempo of attacking. The first one is that once you ve parried your enemy s blow, then it s a tempo to attack. The second, when his blow has passed outside your body, that s a tempo to follow it with the most convenient response. The third, when he raises his sword to harm you: while he raises his hand, that s the tempo to attack. The fourth, as he injudiciously moves from one guard to go into another, before he s fixed in that one, then it s a tempo to harm him. The fifth and last, when the enemy is fixed in guard, and he raises or moves his forward foot in order to change pace or approach you, while he raises his foot, that s a tempo for attacking him, because he can t harm you as a result of being unsettled. Lep. But how about when he moves the rear one? Gio. It s also a tempo, but not as much of one as when he moves the forward one. A specific action can be said to take half a tempo, a full tempo, or two tempi. Giovanni dall Agocchie Lep. Since you ve explained to me the ways by which one can recognize the tempo in which to attack, I d like it if you told me in how many tempi one can attack with the sword. Gio. In two tempi, one tempo, and half a tempo <i.e. mezzo tempo >. The two tempi are when the sword parries, and then strikes. One tempo is when one attacks without parrying the blow, or when one parries and attacks in one instant. The half, and [29verso] last, is when one attacks while the enemy is throwing his blow. But to return to the discussion of attacking outside of tempo, someone who proceeds determinedly without any advantage to attack an enemy who is fixed in guard will proceed outside of tempo, because in that case he ll find him free to perform the counters as I described to you in the fifth heading. ~ 4 ~
Lesson 2 Provocations in Coda Lunga Stretta Giovanni dall Agocchie If perchance you find yourself in coda lunga stretta, from which we ll take our beginning, and you want to be the first, as you said, then I want you to provoke your enemy in the manner that I ll tell you now, so that you can attack him more safely. Provocation 1 Gather your left foot near to your right one, then step forward with your right foot, and in that step you ll hit a falso dritto into his sword, turning your body well behind your right side, and turn a dritto tramazzone to his head in that tempo; If the enemy hits with a falso in order to turn the tramazzone, you ll immediately go into guardia di faccia with your sword, sticking the point into his face, and this is the first counter. Provocation 2 or, having hit the falso into the enemy s sword, you can turn a riverso ridoppio to his right arm, followed by an imbroccata, and with it you ll place yourself in porta di ferro. Second, when he hits likewise with a falso in order to give you the riverso ridoppio to the arm, you ll thrust the point into his chest or draw your right foot back a pace together with a riverso sgualimbro, with which you ll go into coda lunga alta. ~ 5 ~
Provocation 3 You can also give a mezzo mandritto to the enemy s sword, promptly stepping forward with your right foot and thrusting a punta riversa into his chest, followed by a riverso tramazzone which will fall into coda lunga stretta. Third, as he beats your sword with the mandritto, you ll turn a dritto tramazzone, drawing your right foot back in that tempo, and your sword will go into cinghiale porta di ferro. Provocation 4 Beyond which you can step forward with your left or right foot to his right side, and extend a punta riversa to his face, and as he raises his sword to defend himself, you ll immediately advance forward with your foot and turn a mandritto tondo to his head in the same tempo, or, after you ve extended the said thrust, you ll turn your fist downwards, thrusting an imbroccata to his flank, and your sword will stop in porta di ferro. Fourth, when he thrusts the punta riversa in order to wound you with a mandritto, you ll immediately go into guardia d entrare, joining your true edge to his sword, pressing the point into his chest; or, as he extends the said thrust, you ll hit it with a riverso, retiring your right foot back a pace in the same tempo, followed by another riverso sgualimbro, which will fall into coda lunga alta. ~ 6 ~
Provocation 5 Otherwise, you can step forward toward your enemy s left side with your right foot and throw an underhand thrust to his face in that tempo, making your left foot follow behind your right one and your sword return into coda lunga stretta. Fifth, as he throws the thrust in order to give it to you in the chest, you ll immediately send your right foot across to the enemy s left side, turning a riverso tramazzone to his right arm all in one tempo, with which you ll return into coda lunga stretta. Provocation 6 You can also provoke and wound him in two other manners. The first one is by cutting him with a mezzo mandritto to the sword hand, gathering your body backward somewhat together with your sword in that tempo, and then placing yourself into porta di ferro stretta, and this is one way of inciting the enemy, since, seeing you open, he ll have reason to thrust at you. Once he thrusts at you, you can immediately proceed with the forte of your sword on your enemy s, advancing forward with your right foot all in one tempo and thrusting your point into his chest. But if perchance he deviates, that is, disengages his blade under yours, in order to put you aside and wound you, you ll promptly turn the true edge of your sword and your body together with it against that of your enemy, raising up your fist somewhat, sticking a punta riversa into his chest. Sixth, when he cuts toward his enemy s hand with a mezzo mandritto, without stepping you ll raise your sword into guardia d alicorno, thereby interrupting his intent. ~ 7 ~
Provocation 7 The second one is that you can place the true edge of your sword on that of your enemy, stepping somewhat forward toward his right side with your right foot in that instant, so that by doing so you ll come to obligate his sword and will be able to harm him easily with a punta riversa. But if he disengages his sword under yours in that tempo, wishing to strike you, you ll immediately turn your true edge outward against his, thrusting your point into his face. Seventh and last, as he places his sword upon yours, you ll promptly draw your right foot behind your left one and turn a riverso tramazzone in that tempo, which will fall into coda lunga alta. You could also draw your right foot back a pace, turning a mandritto with your wrist in that instant, with which you ll fix yourself in cinghiale porta di ferro. And these are the counters to the provocations in coda lunga stretta. ~ 8 ~
Lesson 3 Provocations in Coda Lunga Alta Provocation 1 Now we come to the provocations in the second guard, which will be coda lunga alta. Finding both of you fixed in this, and wanting to be the first to provoke your enemy, you can pass forward with your right foot and execute a falso and mandritto against his sword, Their counters are that when he steps forward with his right foot and executes the falso and mandritto, you ll immediately change your pace, turning the true edge of your sword upward in that tempo, fixing yourself in guardia d alicorno. Provocation 2 or, having done the falso, make a feint of turning a dritto tramazzone to his head, but rather turn a riverso to his thigh. But if he hits with the falso and performs the feint of wanting to hit you with a riverso, during the hitting that he does with the falso you ll turn a riverso tramazzone, drawing your left foot back, and your sword will remain in coda lunga stretta. ~ 9 ~
Provocation 3 You can also glide your right foot forward, thrusting a stoccata to his face, followed by a mandritto to his head or leg as you wish. But if he extends the thrust with his right foot forward in order to give you a mandritto to the head, without moving your feet you ll parry it with the true edge of your sword, and as he turns the mandritto to your head, you ll immediately pass forward with your right foot, and go with your sword into guardia di faccia to protect yourself, thrusting your point in his face all in one tempo. But if after the said thrust he wants to turn the mandritto to your leg, you ll draw your left foot near your right one and stick a punta riversa into his face in the same tempo. Provocation 4 Beyond which, in the step forward, you could extend an overhand thrust to his flank, turning your left side behind your right in that tempo, and for your defense you ll draw your right foot behind your left one, together with a riverso sgualimbro, with which you ll return into coda lunga alta. And this is the second manner of provoking your enemy when you re in the said guard. But if he steps toward your left side and extends the thrust, you ll promptly turn a riverso tramazzone to his sword arm, with which you ll fix yourself in coda lunga stretta. And thus you ll have understood their counters. ~ 10 ~
Lesson 4 Provocations in Porta di Ferro Stretta Provocation 1 Now note these other provocations in the third guard, which will be porta di ferro stretta. If both of you are fixed therein, and you want to be the first to provoke your enemy, you can hit his sword with a falso manco, making your left foot push your right one forward, and immediately cut a mandritto to his right arm, and return your sword into the said guard. But to continue with the counters in the third guard, when the enemy hits your sword with the falso, you ll immediately turn a dritto tramazzone, drawing your right foot back a pace in that tempo, and your sword will go into cinghiale porta di ferro; and with this defense you ll have interrupted his intention. Provocation 2 You can also hit the sword with a riverso ridoppio, making your left foot follow your right one, and thrust an imbroccata into his chest all in one tempo, and your sword will fall into the aforesaid guard. But when he hits your sword with a riverso ridoppio in order to wound you with an overhand thrust, in the hitting of your sword you ll pass forward with your left foot, but during the extension of the thrust, you ll parry it with a riverso sgualimbro; having done which you ll advance forward with your right foot, sticking an imbroccata into his flank; or, during the advance of your right foot, you ll adjoin the true edge of your sword onto that of your enemy s, sticking your point in his face in that tempo. ~ 11 ~
Provocation 3 You can also pretend to give him a dritto tramazzone to the head, and as he raises his sword in order to defend it, you ll turn a riverso tondo to his thigh. But if he pretends to give you the dritto tramazzone, you ll go with your sword into guardia di faccia, and as he throws the riverso to your thigh, immediately casting your right foot behind your left one, you ll turn a riverso to his arm. Provocation 4 Next, you can beat his sword with a mezzo riverso, and passing forward with your left foot all in one tempo, thrust a punta riversa to his face, and them immediately advance with your right foot toward his left side, turning a mandritto tondo to his head; But when he beats with a riverso on your sword, you won t make any movement, but during his pushing of a punta riversa, you ll parry with the false edge, and if he turns the mandritto tondo, you ll draw back your right foot and give him a mezzo mandritto to his sword hand. ~ 12 ~
Provocation 5 [No text] Translator s note: the riverso ridoppio eliciting this counter is not mentioned among the provocations above Then, if he extends a thrust to give you a riverso ridoppio, you ll parry that with your true edge, and as he turns the ridoppio, you ll guide your right foot toward his left side, turning a riverso sgualimbro in that tempo, which will go into coda lunga stretta. Provocation 6 or, having extended the said thrust, you can also pass forward with your right foot and extend another thrust to his chest, and for your defense you ll make a riverso tramazzone to his sword hand, casting your right foot behind your left one in that tempo, and your sword will rest in coda lunga alta. But if he throws the two thrusts, in the extension of the first one you ll hit it with your false edge, but during the stepping that he makes with his right foot in order to give you the second one, you ll parry it with a mezzo mandritto, wounding him in the chest with a punta riversa, followed by a riverso sgualimbro with which you ll fix yourself in coda lunga stretta. ~ 13 ~
Provocation 7 You could moreover go forward with your right foot, and place the true edge of your sword upon that of your enemy in the same tempo, and thrust the point into his chest, and thereafter reassume the employed guard. And these are the provocations that can be done when one is in porta di ferro stretta. But if he puts the true edge of his sword on yours in order to wound you in the chest, you ll immediately turn your left side behind your right one, throwing a riverso from beneath upwards to his arm in that tempo, and your sword will ascend into guardia d alicorno. You could also step diagonally with your right foot while he extends the said thrust, and disengage your sword under his in the same tempo and stick the point into his chest. And these are the counters that can be done when you re in the aforesaid guard of porta di ferro stretta. ~ 14 ~
Lesson 5 Provocations in Cinghiale Porta di Ferro Provocation 1 You can push a thrust toward his face, passing forward with your right foot and turning a mandritto tondo to his head, or, after you ve pushed the said thrust, you ll turn a dritto tramazzone. Now, their counters will be that as the enemy pushes the thrust with his right foot forward, you ll ward that with your false edge. But when he wants to wound you with a mandritto, tondo or tramazzone, you ll immediately go with your sword into guardia di faccia, thrusting your point into his face; or you ll cast your left foot behind your right one, harming his sword arm with a mezzo mandritto. Provocation 2 You can also thrust a punta riversa toward his face during the advance of your foot, and as he raises his sword to parry it, you ll immediately pass toward his right side with your left foot, thrusting an imbroccata into his flank, followed by a dritto tramazzone with which you ll fix yourself in cinghiale porta di ferro, and this is the manner to provoke the enemy, being in said guard. But if he wants to extend he thrust in order to give you an imbroccata to the flank, you can step forward with your right foot and hit it with the true edge of your sword; but in the step that he takes in order to push the imbroccata into your flank, you ll parry it with a riverso ridoppio, and immediately wound him in the chest with an overhand thrust, and for your shelter you ll turn a riverso sgualimbro, drawing your right foot back, and your sword will stop in coda lunga alta. ~ 15 ~
Lesson 6 Provocations in Guardia d Alicorno Provocation 1 Now, to continue with the provocations in the fifth and last guard, which is guardia d alicorno with the right foot forward, I ll tell you that when you find yourself fixed in this guard, and want to be the provocateur, you can advance toward his left side with your right foot, making your left one follow it, and turn a mandritto sgualimbro to his sword in that tempo, and immediately slice his face with a riverso tondo followed by a riverso sgualimbro with which you ll fix yourself in coda lunga stretta. As your enemy turns the mandritto to your sword, cast your right foot behind your left one, turning a riverso tramazzone in that tempo, which will go into coda lunga alta. Provocation 2 Or you ll provoke him to respond if, almost without moving your feet from there, you extend an overhand thrust which will fall into porta di ferro, and with these provocations you ll make him throw something. But when he pushes the overhand thrust without advancing his foot, you can make a sign of following it with an imbroccata to his face; and if he raises his sword to defend himself, you ll immediately lower the point of your sword under that of your [28verso] enemy, pushing the point into his flanks all in one tempo, with which you ll place yourself in porta di ferro stretta. And with this I ve brought the provocations and their counters in the five aforesaid most necessary guards to an end. ~ 16 ~
Lesson 7 Falso to falso with your enemy so that swords kiss Giovanni dall Agocchie Lep. These straits of which you ve just spoken, can they be done with either foot forward? Gio. They can be, because the difference is that when you have your left foot forward, you ll need to step with your right one; and when with the right one forward, you ll need to advance with the same right one, but make your left one follow it; and this is the rule that you have to follow in moving your feet. Provocation 1 Well then, finding yourself falso to falso with your enemy, that is, so that the false edges of the swords kiss each other, and wanting to be the first one to attack, you can advance toward his left side with your right foot, turning a mandritto tondo to his head and immediately returning back with the same foot, together with a riverso sgualimbro which will go into coda lunga alta. The counter to this is that when the enemy turns the mandritto you ll promptly go into guardia di faccia to protect yourself, thrusting your point in his face in that tempo; or, as he moves to turn the mandritto, you ll draw your forward foot back a pace, turning a mandritto sgualimbro to his right arm in that instant, with which you ll go into cinghiale porta di ferro. Provocation 2 Second: you can step forward with your foot and pretend to give him a mandritto tondo, nonetheless turning a riverso to his head, immediately returning backward with your foot with a mandritto tramazzone which will descend into cinghiale porta di ferro. The counter will be that while he makes the feint, you won t move, but when he turns the riverso, you ll go back with your forward foot and turn a dritto tramazzone in the same tempo; or, as he turns the riverso, you can make a half turn of your fist downwards, turn your true edge against his sword, and thrust the point into his chest. ~ 17 ~
Provocation 3 Third: you ll immediately turn your sword hand downwards, advancing with your right foot, and thrust an imbroccata into his flank. The counter to this is that as [30verso] he turns his fist in order to throw the thrust, you ll immediately draw your forward foot back a pace, turning a riverso tramazzone to the enemy s arm all in one tempo. Provocation 4 Fourth: you ll advance toward the enemy s left side with your right foot, lowering the point of your sword under his in that tempo, thrusting the point into his chest. Then you ll immediately direct your forward foot back, together with a riverso sgualimbro with which you ll fix yourself in coda lunga alta. The counter will be this: while the enemy lowers his point, you ll take his sword with your true edge, throwing a stoccata to his face; or, as his point drops, you ll immediately fade back with your feet, throwing a mandritto sgualimbro to the enemy s hand in the same tempo. ~ 18 ~
Provocation 5 Fifth: you can glide forward with your foot, feinting to wound him with a mandritto, and immediately catch his sword under your own with your left hand, wounding him with a mandritto to his head or leg as you wish. The counter to the aforesaid is that while he makes the feint in order to do the grip on you, you ll promptly withdraw your forward foot a pace, and wound him with a fendente to the head in that tempo. Provocation 6 Sixth: you can beat the enemy s sword to his left side, stepping forward and immediately slicing his face with a mandritto followed by a riverso, with which you ll end up in coda lunga stretta; or, once you ve beaten the sword, make a half turn of the fist, thrusting the point into his face and making one foot push the other one forward, and for your shelter, you ll draw the right foot back a pace together with a dritto tramazzone which will go into cinghiale porta di ferro. The counter to this sixth one will be that when the [31recto] enemy beats your sword, you ll immediately turn your forward foot back, turning a tramazzone to his head all in one tempo. And these are the attacks together with their counters that can be done when facing your enemy falso to falso. ~ 19 ~
Lesson 8 Dritto to dritto with your enemy so that swords kiss Provocation 1 But to continue the discussion of the straits of the half sword, when you find yourself facing your enemy true edge to true edge, that is, with the true edges of the swords kissing each other, and you want to be the first one to attack, you can turn a riverso tramazzone to his head, stepping toward his right side in that tempo with your left foot, and your sword will fall into coda lunga alta. The counter will be that while the enemy steps with his left foot in order to give you the riverso, you ll immediately turn your true edge against his sword, thrusting the point into his chest; or you ll direct your right foot back a pace turning a riverso sgualimbro in that tempo with which you ll go into coda lunga alta. Provocation 2 Second strait: You can turn the back of your hand upwards, making the point of your sword go toward your enemy s face, and as he parries the thrust, you ll immediately slice a mandritto to his chest that will slide downward, followed by a riverso sgualimbro, with which you ll adopt coda lunga stretta. The counter to this is that when the enemy turns his point toward your face in order to give you the mandritto, you ll draw your right foot back a pace, turning [31verso] a riverso sgualimbro all in one tempo, which will end in coda lunga alta. ~ 20 ~
Provocation 3 Third: you can make a feint of giving him a riverso, and nonetheless give him a mandritto tondo to the head, and for your shelter you ll draw your right foot back a pace, followed by a dritto tramazzone with which you ll fix yourself in cinghiale porta di ferro. The counter to the aforesaid is that as the enemy makes the feint of turning the riverso, you won t move, but as he turns the mandritto, you, being in guardia di faccia, will thrust the point into his face; then you ll guide your right foot back a pace together with a riverso sgualimbro which will go into coda lunga alta. Provocation 4 Fourth strait: you can hit the hilt of your sword into your enemy s sword, upwards toward his left side, passing forward with your left foot all in one tempo and turning a riverso tramazzone to his head, with which you ll fix yourself in coda lunga alta. The counter to this is that when the enemy hits his hilt into your sword, you ll immediately draw your right foot back a pace, giving him a mandritto tramazzone to his sword hand in that tempo, with which you ll assume cinghiale porta di ferro. ~ 21 ~
Provocation 5 Fifth: You can make a half turn of your fist, not removing your sword from his, as if you were in the act of turning a riverso tramazzone, and in that tempo you ll turn the pommel of your sword over his wrist on the outside, driving it downward in such a way that you can wound him in the head with a riverso. In the same tempo you could also put your left foot behind his right leg so that you could easily make him fall, or alternately you could perform a presa on his sword arm with your left hand and them wound him however seems best. The counter to the aforesaid will be that as you see the turning of his sword hand, [32recto] you ll promptly step toward his right side with your left foot, turning a riverso sgualimbro to his head, with which you ll settle yourself into coda lunga alta. Provocation 6 Sixth strait: in reaching the half sword you ll turn your fist, pushing his sword down, and immediately cut a riverso tondo to his face, followed by a riverso sgualimbro with which you ll assume coda lunga stretta. The counter to this is that when the enemy pushes your sword down, you ll immediately draw your right foot back a pace, turning a riverso tramazzone to the enemy s hand in that tempo, which will go into coda lunga alta. Giovanni dall Agocchie And thus, by the grace of God we have brought an end to fencing with the unaccompanied sword. ~ 22 ~
Works Cited Dell'Arte di Scrimia, 1572, by Giovanni dall'agocchie. Translated by William Jherek Swanger Next Steps [TODO] ~ 23 ~